Sometimes his more experimental prose is so defiantly violent it is hard to pinpoint. I have maintained that Makbara is entirely poetic in its distant engagement with orality.
It is also possible to add to the list these lines from the opening of Señas de identidad, which cycle through a few different mediums and thoughts in the same sentence:
lo que de lejos o de cerca huela a anti-español por haber rodado un breve documental de planificación defectuosa y chata pésimamente amalgamado y carente de garbo fotográfico y de poesía no es cosa que pueda extrañarnos acostumbrados como estamos a hechos y actitudes cuya triste reiteración revela el odio impotente de nuestros adversarios cualquiera...
Documentaries, photography and poetry work in connected cycles or spheres here. The comment about poetry certainly reminds me of what I tried to express to my students: we need poetry. Each briefly making contact before the sentence churns to another medium. In spite of the anger and bitterness in Goytisolo, the motor of his prose is always impressive. It tries to keep up. The last chapter in Makbara also comes to mind here, "Lectura del espacio en Xemaá-el-Fná", which also maintains insanely persistent prose-locomotives attempting to keep up with the encryption of space into place...
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